Sean Gaffney

By Yoshiyuki Sadamoto and GAINAX. Released in Japan by Kadokawa Shoten, serialized in the magazines Shonen Ace and Young Ace. Released in North America by Viz Media.

This fourth omnibus from Viz will be the last for a while, as Japan hasn’t even announced when the final volume is coming out yet. I assume it will be released simultaneously here and Japan, as Vol. 13 was, and that there will be a gap between that any any 5th omnibus. That said, there’s more than enough here to keep Evangelion fans busy. So much happens in this omnibus that it’s a bit difficult to know where to begin. One thing is for certain, though, and that’s the ongoing massacre of everyone Shinji loves and holds dear is still going to happen. Business as usual, folks.

Kaworu was introduced far earlier in each successive adaptation of Evangelion, probably as fans took him so quickly to their hearts. That doesn’t mean that he gets to be all warm and fuzzy, though he’s trying. I think it’s clear he wants to comfort Shinji and make him feel better, but he has no idea how people deal with grief – or indeed, emotions in general. He tries to make up for that by physical closeness, but Shinji, who’s already somewhat sexually confused due to simply being a teenager, lashes out at him. The manga makes things bigger – both Shinji’s rejection of Kaworu’s advances of friendship (or something more), and of his admitting how close Kaworu really got to him. In the end, Kaworu wanting Shinji to kill him manages to be rather heartwarming and sweet, in an Evangelion way.

And, in the opposite direction from heartwarming and sweet, we have Ritsuko, who has realized all along that Gendo is using her like he uses everyone else, but has been too wrapped up in her desire for him to really try to do anything about it. Gendo throwing her to the wolves of SEELE seems like it was a wake-up call, and she proceeds to give him the biggest ‘fuck you’ that she possibly can, with Misato and Shinji as witnesses. The idea of Rei being a clone is something that we’ve basically accepted, particularly given we see her get killed early on in this volume and then show up with the same body but without the emotional attachment to Shinji she had grown over the series. Despite that, the scene showing all the Rei bodies in the vat, waiting to be the next one, has not lost any of its power. It’s almost a relief that a suicidal and self-loathing Ritsuko destroys them all.

I talked last time about how Asuka gets much less to do in the manga, and that’s still true in this volume – until the end. Sticking her in her Eva may have been a safety precaution, but it was also the best possible thing for her psyche, as she manages to come to terms with what her mother was to her – and then goes to town on SEELE’s invading Evas, in the most glorious battle sequence we have seen to date in the series. Seeing Asuka, who has spent her entire life overcompensating for feeling useless and unwanted, take out these fakes with strength and purity of heart, is a beautiful thing, even if she can’t quite save the entire day. Mostly as it’s questionable as to whether there will be a tomorrow to be saved.

Because the JSSDF is invading NERV, and the orders are to kill everyone – even people who surrender, even people begging for their life. This we see, and it’s absolutely terrifying. It comes to the point where only Shinji in his Eva can save the day, but he is absolutely emotionally dead after everything that has happened to him (and remember, the timeline for the manga seems to be far faster than the anime one). Luckily, he has Misato,who gets her finest hour in the final part of this volume at the same time that Asuka is getting hers. Misato has always sort of straddled that line with Shinji between feelings of a mother, of a sister, and of a woman. It fits well with the rest of the series, where Shinji can’t tell if he loathes or is attracted to Kaworu, Ritsuko’s desire merges with her anger, and Gendo imprints her dead wife onto a clone that is both her and not her at the same time – something that she gets but he may not. All of these things are what makes up humanity – and that’s what Misato has to convince Shinji to save.

Has she done that? Well, you can get Vol. 13 right now and see for yourself, but whether we manage to get an ending that isn’t covered in orange goo is another matter. The manga has ended in Japan, so it’s a matter of Kadokawa scheduling the final volume. either way, it’s been an amazing ride. The manga world of Evangelion is still my favorite.

By Q Hayashida. Released in Japan by Shogakukan, serialization ongoing in the magazine Ikki. Released in North America by Viz.

It’s worth noting, in case people have somehow forgotten it amongst all the gyoza and goofiness, that this series is incredibly terrifying at times. Everyone’s pasts are brutal and horrific, and it’s made almost all of them into morally ambiguous killers. The corpses that litter Dorohedoro are almost uncountable. And one of our good guys has a flashback in this volume showing that he collected these corpses and experimented on them. Meanwhile, Ebisu is learning the hard way that you can’t go home again.

Actually, the Ebisu plotline was probably my favorite part of this volume, if only for the 80 shades of wrong it contained. For one, the entire plotline with her parents is just nightmarish. Their daughter disappears, they are distraught, broken… so they pay a sorcerer to bring her back. And he… is a man with a paint tube mask, something that sounds much funnier than it is given that’s also how he recreates Ebisu. Only it isn’t Ebisu, to the point where her own parents fled their home. And now Ebisu returns to find herself under attack by her own doppelganger. Of all the disturbing art and violence that we get in this volume (yes, even the final scene), Ebisu having her head slashed open is the one that will stick with me. Just… urgh.

Meanwhile, we continue to get flashbacks to the guy that I think is Caiman’s past. His name is Ai, and he’s a sullen teen, all right. He also goes and gets himself killed fairly fast, or so we think. As it turns out, when Shin and Noi dig up the grave, there is a distinct lack of Ai there. It has to be said that Dorohedoro is a very dense manga, and its hints, when they arrive, are not necessarily very revealing. Caiman’s past in particular is difficult as we’re given the fakeout of his being connected to Risu, which turned out to be not quite true (but also yes, it is totally true).

And finally, En wakes up again, and boy is he pissed off. It’s worth noting just how overpowered En is in comparison to everyone else in this manga. He arrives and just completely owns everyone, even Caiman, who is immune to magic… which really doesn’t help when mushrooms are erupting from all of your internal organs. Now En has Nikaido again, and Caiman appears to be dead. He’s appeared to be dead before, but this time he has his own head (maybe) back, and the lizard head is a thing of the past. Maybe.

Leaving aside the batter-fried shrimp sorcerer at the end of the book, this was a fun, if a bit confusing, volume of Dorohedoro. Yes, explanations are thin on the ground, but the story never suffers from the lack of them. I suspect that the story is going to switch back to the cross-eyed gang for a bit given that cliffhanger (and we also get a really sweet/disturbing scene of the cross-eyes reminiscing about their completely insane leader, who I think is also Ai? Caiman? Whatever…). Wherever the story goes, though, I’m right there with it.

Story by Ryukishi07; Art by Jiro Suzuki. Released in Japan in two and 1/2 separate volumes as “Umineko no Naku Koro ni: Turn of the Golden Witch” by Square Enix, serialized in the magazine GFantasy. Released in North America by Yen Press.

The Turn of the Golden Witch concludes, and takes a turn for the grotesque and humiliating. The cover chosen (at the last minute, if advance solicits are to judge) by Yen for the omnibus features Rosa, the last remaining Ushiromiya sibling, glaring suspiciously at the reader with her Winchester at the ready. Open the cover flap, however, and you’ll get a far more appropriate image: Beatrice leering in triumph at a naked Battler, bound in chains and with his naughty bits covered by golden butterflies. Until the very last minute, what happens here is nothing less than Battler’s complete defeat by the magic of the Witch and the power of fantasy.

The choice of Rosa as the adult viewpoint character, which was uncomfortable enough in the first omnibus, gets even more tortuous here. At least with Natsuhi in Vol. 1 we had someone we could root for and sympathize with, even if her haughty pride was all too visible at times. Rosa may be trying to protect Maria and the children, but it’s not nearly as noble. (Indeed, one has to be suspicious of why she alone survived, given all seven siblings and spouses were seen in the chapel the night before the “Happy Halloween For Maria”.) Her use of the ‘wolves and sheep’ puzzle is more or less an excuse to scapegoat the servants. It’s actually oddly surreal at the very end when she finally starts attacking the fantasy “goat butlers” who arrive to destroy everything in order to save her daughter – the scenes of her and Maria reaffirming their love for each other as everything goes to hell seems even more unrealistic than the flying stakes and light swords bandied about earlier.

As for the ‘meta world’ battler and Beatrice, Battler sometimes seems to gain an advantage – the Red Truth is rolled out in this volume (which Yen, like the Japanese tankobons before it, uses a different font on – colored inks cost money), and he’s very quick to figure out how to make it work for him. But the trouble is that his ‘proof’ is simply denial. There are no witches because I say so. Whereas the answer he’s avoiding is “There are no witches because someone I know and care about is guilty instead.” If you choose to treat Umineko as a mystery and not a fantasy, you have to assume that someone is killing everyone, and try to figure out why they’re doing it. Battler, who won’t even bother to find Who, certainly is nowhere near Why. This is why Beatrice subjects him to the ‘naked furniture footstool’ punishment, and parades him past an array of butlers (and a disgusted Bernkastel). It’s his low ebb.

This brings us to this arc’s Tea Party, which this time involves Rosa waking up and not realizing what’s going on. It has to be said, this is easily the most grotesque scene in the series to date – yes, it’s even worse than the Happy Halloween candy corpses – and reminded me a bit of the horror splatter films of Mario Bava. It’s easy to see why Rosa may say she hates her siblings and her daughter – she was physically, mentally, and emotionally abused as a child, and Maria is quite the handful. But much as she’s an abusive mother, and a spiteful sibling, deep down she really does love her family. This is why Beatrice’s waving their fates in her face is so grotesque – and why Battler is able to find the gumption to stop it. (Though I could do without his asking Maria to say ‘eat me’ to him in 10 years time – why does he always fall back on being a pervert?) Indeed, you’d almost think she did this on purpose just so that they could play another game…

Like Battler, the reader, to a certain extent, is rooting for the fantasy. The scenes with Kanon and Shannon battling the stakes (even if the stakes are, sigh, moe teenage girls) are really cool, and the entire sequence plays out in various ways as dramatic, tragic, and heartwarming. Reaffirming love and choosing to go out with a smile… there are some of our very best story cliches come to life here. That said, if the reader wants to continue to say ‘there is a realistic explanation for what happened’, this arc drops the most obvious way of figuring out what that is: don’t believe everything you see or read. Clearly, if this is realistic, some of what we saw here has to be imaginary. It didn’t really happen. So, what did happen? Did Rosa murder her siblings? I doubt she could kill all six of them without a fight. Perhaps the servants, who are highly suspicious throughout this? Aw, but they’re so nice! I don’t want Shannon or Kumasawa to be a killer!

This feeling of pleasure, intrigue and discomfort is what drives the Umineko series, and it drives Battler (and us) to play another game, so we can get closer to the truth. Even if that truth involves a witch. (Also, I want to read further to find out where the hell the Battler/Beatrice fans all came from… is it all hateship? Certainly Beatrice is at her most loathsome here…) Yen are taking a break until January, but then we’ll have two more omnibuses, and focus on a new family member – get ready to get inside Eva Ushiromiya’s head.

Oh yes, about the hidden tea party: 1) Lambdadelta seems to have the body of little Miyoko Tanashi (aka Miyo Takano) and her personality of Satoko Houjou. What a horrible combination. 2) Bernkastel basically doing Rika’s “mew” line further makes the listener raise an eyebrow at Ryukishi07 when he insists she’s not Rika. Certainly SOMETHING in her is Rika…

By Kazuma Kamachi and Motoi Fuyukawa. Released in Japan as “Toaru Kagaku no Railgun” by ASCII Media Works, serialization ongoing in the magazine Dengeki Daioh. Released in North America by Seven Seas.

It has been noted several times that Academy City, where the events of this series take place, is providing young teens with power development so that they can, in essence, become superheroes. They are ranked all the way from Level 0 (Saten falls here, as well as Touma, though he really doesn’t count) up to Level 5. And our heroine, Misaka, is one of seven people in the entire city strong enough to be a Level 5. Of course, we’ve seen a few other Level 5s along the way. Accelerator. Mugino, leader of ITEM. And we just met Misaki and her mind-controlling in the previous volume. And it has to be said: Misaka is easily the most down-to-earth, sensible, and normal of all these overpowered lunatics.

And part of the reason for that is that, unlike most of the folks I mentioned above, Misaka isn’t lonely and doesn’t drive people away. She has a social life. She has her best friends. Yes, OK, Saten teases her, and Kuroko wants to assault her every chance she gets, but they’re still her support system that keeps her going through the tough times. Note how she tried to limit contact to those three during the Sisters Arc, where she was contemplating a) murder, and b) suicide. Unfortunately, Misaki is shaping up to be the next big antagonist, and can manipulate people’s memories. And Misaka finds out what this really means when her friends… no longer remember her.

I give credit to Misaka for taking this in and then quickly dealing with it. She’s in the middle of a crisis, one of her sisters has been kidnapped, and while I’m sure she’d love to argue with Kuroko till she’s blue in the face, there just isn’t time. But her face as she accepts what’s happened is simply depressing. Luckily, Misaki hasn’t had a chance to get to everyone, and Kongou is able to help her and give her a few words of comfort… well, anti-comfort, really. Kongou says she’ll try to get information, but Misaka absolutely shouldn’t trust it, as she may be ‘gotten at’ by the enemy.

Kongou, by the way, has two friends that we met in the previous volume, who are usually referred to as ‘those two guys/girls’ by anime fans. They’re the friends of the person who actually gets the dialogue and situations, there to show that they have their own backup and support system. And Kongou’s friends are sweet, adorable minor characters. They even joke in the first chapter about how they have no idea what it’s like to be really angry. Except… why do those two minor characters have such a large picture on the cover? That’s right, this is foreshadowing. And there are no minor characters in Railgun, there are only a bunch of awesome women who will beat the crap out of you. Watching Wannai and Awatsuki get furious and hand the minor mook (who’s a sexist to boot) his ass is a joyous thing to see.

Things are getting quite complicated as we move further into the school festival. At first we thought Misaki might be behind everything, but now it transpires there are multiple groups of villains (a favorite tactic of the author in the main Index series). Will Misaka be able to rescue her sister, restore her friends’ memories, win the athletic competitions and speak with Touma without n blushing and stuttering? Well, we’re caught up with Japan, so you’ll have to wait till April to find out!

By Quin Rose and Mamenosuke Fujimaru, based on the game by Quin Rose. Released in Japan as “Anniversary no Kuni no Alice – Tokeiya” by Ichijinsha. Released in North America by Seven Seas.

You would think that I would have run out of things to say about these volumes. Sometimes I have, when they’re particularly pointless – see last month’s batch of Bookshelf Briefs for my opinion of the Ace spinoff – but there always seem to be a few nuggets of interest to keep me going. It also helps that this volume focuses on one of my favorite of Alice’s romantic choices, Julius Monrey, the clockmaker. (In case you’re wondering about the ‘Anniversary’ thing in the Japanese title, it’s what they called the updated PS3 version of Alice in the Country of Hearts.)

The basic premise won’t be a surprise to anyone who’s read the previous spinoffs of this endless otome game series. Alice is trying to get away from an oppressive Peter White at Heart Castle, so she asks Julius if she can stay at the clocktower for a while. He agrees, and they gradually begin to open up to each other. As their relationship deepens, however, Alice has to not only deal with her own feelings, and the fact that her beloved is not the type to take the initiative, but also realize that Julius is hated by a large number of folks throughout Wonderland. Can she come to terms with what his job really entails? And what of her ever-present need to return to her sister?

Julius is a rarity in the set of Wonderland males that Alice runs into. He’s passive, introverted, and taciturn. He will happily stay in his tower for weeks, just working on clocks and sleeping when he remembers to. After several stories with Blood, or Ace, or the twins, or Eliot, or Boris, he feels like a breath of fresh air. He also causes Alice to need to be more proactive, rather than simply have the love interest be aggressive consistently until she gives in. There’s lots of adorable scenes here.

Also, he’s a mortician. Who can resurrect the dead. Only not really. Wonderland’s weird world, where everyone has clocks instead of hearts, and people can be ‘resurrected’ but aren’t quite the same people they were before, makes almost everyone uncomfortable, and that gets taken out on Julius. He’s clearly not doing this for fun, but it’s his role, and he regards it as necessary. But in a way, hanging out with him is keeping Alice in a constant shadow of death – something that I imagine makes Peter quite nervous, given what they’re all trying to make Alice not remember.

This one-shot also has an unusual ending in that, when Alice confesses her love, she chooses to remain in Wonderland and stop trying to return to her own world. Which she’s done before, but in this case the vial filled with people’s feelings that she carries around throughout the game is seen in the final shot to be shattered at her feet. It’s a striking image, showing that there’s no going back. I will admit I’m not entirely happy with the basic premise of the series being ‘if she remembers her traumatic past that makes it a bad end’, which seems to romanticize denial more than I’d like. Still, it does make for a good capper on what has been a fairly enjoyable, if slight, story.

There are also two Crimson Empire stories at the end. Luckily, they are shorter in length than they were in the Ace book. I say luckily as they were incredibly boring and tedious. Alas, you’re better off with Alice than Sheila.

By Shinobu Ohtaka. Released in Japan by Shogakukan, serialization ongoing in the magazine Shonen Sunday. Released in North America by Viz.

I like Shonen Sunday series a lot, and I wish they sold better over here, as I’ve noted before. Therefore, when a really good Sunday series debuts, I get a bit excited. Of course, like most really good shonen series, you read the first volume and realize ther4e’s going to be several volumes of setup before we get to the really good stuff. This one is clearly in for the long haul. That said, the worldbuilding is fun, particularly if you are a fan (as I am) of the Arabian Nights stories, which are used as the basis for this series.

The boy on the cover is Aladdin, one of the two main heroes we meet in this volume (we also meet a third major character, but spoilers). Aladdin is very much cut from Luffy stock (the author notes she grew up in high school reading Jump, which sounds like it was right about when One Piece hit it big, so this isn’t surprising), being naive, upbeat, and generally happy-go-lucky. Unlike Luffy, he also seems to have a thing for busty women, though he’s young enough that no one really minds all that much. He carries a flute with a genie inside, which is generally weak/strong depending on how much food he’s eaten, and gives him most of his cool powers.

The other main lead is Alibaba, who is also another common shonen hero. He’s been slightly trampled down by life, and is trying to make it through this world by being a cynical money-grubber. Sadly, he has a good heart and can’t stand injustice, so that doesn’t work out very well for him. It’s not helping that he runs into Aladdin, who frequently serves as his conscience when Alibaba is trying to drown out its loud voice. Alibaba does NOT have a genie who can grant his every wish, so has to get by on street smarts and some basic fighting skills. He makes an excellent contrast with Aladdin.

After the two of them team up, we hit what seems to be the other main feature of this world, at least in this early part of the series: dungeon crawling. Yes, gamers will feel sympathetic here. There’s a twisty maze of passages (all alike) that have to be marked as ‘bad’ by previous dead explorers. There’s hideous creatures, and deadly traps. And there’s also, allegedly, buttloads of treasure. Treasure that everyone seems to have been waiting for a kid like Aladdin and his genie to show up so they can use him to acquire it. As such, we meet, right near the end, the lord of the territory Jamil and his faithful slave (so faithful she returns to him even after getting freed by Aladdin) Morgiana. It’s not entirely clear if this will be our first bad guy or if his ways will be changed by our heroes’ goodness and niceness. I suppose we must wait till Vol. 2 to find out.

Again, there’s not much that’s original here. But it’s fun! Likeable characters, a lot of fascinating Arabian tropes, some cool fights, and a quest that can go anywhere. Magi is a big hit in Japan, with an anime under its belt already, so I’m very pleased that Viz is taking a chance on it. If you like One Piece or Toriko, give Magi a try.

By Yumi Unita. Released in Japan as “Usagi Drop” by Shodensha, serialized in the magazine Feel Young. Released in North America by Yen Press.

You may finally discuss Bunny Drop in the comments. But be polite.

And so here we are. I’d mentioned when reviewing the previous volume of Bunny Drop that there was a certain discomfort with where it was going, even if there wasn’t really anything objectionable besides the basic concept. That feeling continues and is magnified in this volume, which could almost be described as “Yeah, it went there.” It does its best to try to show the thought patterns of the people this decision impacts – though Rin, as always, is harder to read and understand than the others. But in the end, was this trip really necessary? Let’s find out.

For most of the volume, the basic conflict is not so much “Rin is in love with Daikichi” – that was dealt with by Vol. 8, mostly. The conflict is that Rin seems to be perfectly content to never deal with this and live in her happy family cocoon forever, denying her own feelings so that things can be the same. And big props to Kouki for pointing out how selfish this is. Honestly, Kouki’s development has probably been written better than Rin’s as this series has gone along – he’s still very much in love with her, and knows that love can’t happen, but is determined to be sure that Rin is happy. What she’s doing now isn’t getting her that way. So, because he’s that sort of person, he simply tells Daikichi everything.

Yumi Unita’s art has always been best when showing feelings of awkward discomfort, and really excels here in the middle part of the book, as Daikichi has to deal with Rin’s feelings, and Rin has to deal with Daikichi knowing about it, and – inevitably – the destruction of their cozy parent-child relationship. I liked that she ended up going to her mother – whose character development has also been good but is mostly off-screen. The mother, of course, is there to provide the “”out” the story needs – Rin isn’t really Soichiro’s daughter, she’s an adopted daughter. Meaning she and Daikichi aren’t related by blood. Which is fine, except, y’know, he’s still raised her as a parent since she was six. Sigh.

Daikichi says to Rin he’s going to wait two years, possibly thinking that Rin might get over this. But of course she does not. Through most of the post-timeskip series we’ve had trouble reading Rin, but right at the end it’s Daikichi who becomes difficult, as his acceptance of Rin’s love and agreement to marry her seems to come less from romantic feelings and more “well, a father can’t say no to his daughter”. Which provides all sorts of deeply wrong reactions. Particularly when Rin brings up children right at the end.

There is a certain odd dilemma with this series. When it began, everyone was enchanted by its warm and loving take on parenting and adopted families, and recommending it to libraries and such. Then the spoiler hit, and suddenly the entire fandom took a darker turn. The anime solved this problem by simply ignoring the timeskip altogether. The difficulty is that if readers had known the manga was going to go down this direction, I don’t think any of them would have bought the series. Most people still reading have a sense of “Well, better see this through to the end, since I’ve invested so much time in it.” Which is not what one really wants from a heartwarming manga series. Bunny Drop could be very well-written, and thoughtful, and have nice art, and I’ve analyzed it more than most other series. But I don’t think I’ve ever felt quite as uncomfortable with an ending as I am with this one.

Of course, there’s Vol. 10 in April of next year. But I hear that’s mostly side-stories from when Rin was a kid. We shall see. (What, drop the series? Nah.)

By Rikdo Koshi. Released in Japan by Shonen Gahosha, serialized in the magazine Young King OURS. Released in North America by Viz.

In between all the body swaps, and personality wipes, and past lives, and pure hostile mind takeovers, it’s become increasingly apparent that one of the core themes of Excel Saga (the manga) has been identity. What is it that makes us who we are? Is it the bag of meat we currently inhabit? Is it that we think, therefore we are? What if we have amnesia? What if we’re put into a robot body? What if we are a reincarnation of someone else with similar memories? Lately it seems that our cast, especially Excel, need to have this question answered. And while I’m not sure this volume gives us anything definitive, it is one of the best at showing just how complicated this can actually be.

Let’s start with Excel, who is now back in her regular old human body after a couple volumes as a Ropponmatsu. Of course, ‘regular old human body’ has never quite applied to Excel, given she is capable of lifting several hundred pounds if she doesn’t think too hard about it, can open doors to ancient civilizations, and clearly has a past which Doctor Kabapu is trying hard to deny. (Kabapu and Shiouji’s greek chorus is one of the more frustrating things going on in this volume, mainly as Kabapu clearly has the answers but doesn’t want to say them out loud, and Shiouji doesn’t care enough.) Unfortunately, Excel, newly invigorated and with Hyatt and Elgala by her side, runs into Il Palazzo, and the shock causes her to have a mental breakdown for the last half of the volume.

Because of course that isn’t really Il Palazzo. Oh, it’s his body, all right. This is actually a major reason why Excel breaks down, as she can’t get over how Il Palazzo-ish he really is… until he speaks. And we finally get to see the truth about Shiouji’s father, Tenmangu. I’ve gotta say, we’ve been expecting him to be possessing Miwa’s body since about Vol. 13, which is… sort of true, only not. No, he’s now in control of Il Palazzo, and Miwa is a Ropponmatsu – one far more powerful than anything Shiouji could ever invent. Of course, this may not really matter all that much, as we’ve never really delved too deeply into who Il Palazzo really is. Excel figures out something is wrong purely due to the ideals she holds so dear – Il Palazzo talks about this “wonderful world”, and she knows her real love believes that this world is truly corrupt. (Given Excel Saga’s plotline, I really have to lean more towards Il Palazzo than Tenmangu here.)

Even if you can understand who someone really is, there’s always the chance of them disappointing you. Both Umi and Hyatt seem to hold Teriha/Excel on an impossible pedestal, one that she’s never really going to live up to. Elgala is more realistic about her expectations of Excel, but gets too lost in her own la-la land to be of any help. Misaki still has trouble rationalizing her love for Iwata, given what a giant doofus he is 90% of the time. Sumiyoshi always found Ropponmatsu 2 to be a loli pain, but is rather surprised by how angry her destruction makes him. And Watanabe disappoints EVERYONE, as his love for Hyatt has clearly not lessened (or ind3eed deepened) one iota.

The next volume of Excel Saga is the final one, and I’m fairly certain that we won’t be getting everything answered. But we should at least clear up a few things, and hope that at least some of these people can live happily ever after. Or at least get a good night’s sleep. God knows they need it.

(Also, Excel’s face when she realizes that’s not Il Palazzo is beautiful yet achingly sad at the same time. This series can still hit the heartstrings when it wants to.)